Exhibits

During our extended-temporary closure, we're bringing exhibits out into the community. Visit our sister institutions to see these ASM exhibits:

Exhibit Synopses and Title Explanations

Watch this introductory video.

This exhibit series, They Don’t Love You Like I Love You: Indigenous Perspectives on Sovereignty, developed out of community curator group discussions with representation from all five Native Nations about community and the idea of sovereignty. Each curator agreed that there is no better authority on how to care for the people, homelands, culture and language than their own. The idea of sovereignty coming from within, and in the face of outside forces/decisions, was an underlaying theme in each exhibit. At the opening reception at Himdag Ki:, community curator April Ignacio addressed the crowd, “This exhibit is a love letter to you, our hajun (family/relatives).” This sentiment was shared at each of the exhibit openings.

• Gila River and Salt River are known as Akimel O’odham, or River people. Their collaborative exhibit, Su:dagi/Shu:thag: Rekindling Our Connections, focuses on the loss of their water resources due to encroachment of settlements and city use. Through this loss, all other areas of their cultural community were affected. Over the last 100 years they have been at the forefront of the water rights litigation, and cultural reparations while turning to each other to lead the way. The exhibit was conceived as a message to their youth that there is strength in traditional knowledge, which should be harnessed to create a healthy future.
• Pascua Yaqui’s exhibit, Our Song Is Our Strength, highlights the resilience and determination of the Yaqui people from their homelands near Rio Yaqui in Mexico through government enslavement and persecution, and their exodus north into the United States. As a matter of safety, their culture was kept secret until the 1970s when after gaining federal recognition they were allowed to freely practice, celebrate and revitalize their traditions north of the border. This exhibit uses original artworks from Pascua Yaqui artists to highlight issues such as United States/Mexico border wall, land and water protectors, Violence Against Women Act (VAWA), Missing and Murdered Indigenous Women (MMIW), and community pride.  
• Hia-Ced Hemajkam exhibit, Invisible NO MORE!, is in response to the fight for federal recognition. In early 1900s the Hia-Ced O’odham were overlooked as a dying community and denied access to federal recognition, land trust, and other protections and support. Their community has been fighting for federal recognition for over four decades. This exhibit details the process they are taking to achieve federal recognition, and how this decision will support their cultural reparations and future as a distinct tribe.